King Bastard offers psychedelic filth music and the album Came From The View is their debut album.
Says, «Following nearly three years of anticipation, we present our debut album IIt Came From The Void. A mixture of infectious jams and gratuitous effects to craft soundscapes reminiscent of a 70’s space horror. Each track invokes a synesthetic experience, a scene from an auditory short film».
Space.Scoundrel says, «Atmospheric without lacking teeth and punch. Awell laid out album that immerses you in the cold and fiendish glare of the far side of the stars».
From Hell to Horizon
Psychosis (in a Vacuum)
Bury the Survivors/Ashes to Ashes
Black Hole Viscera
Succumb to the Void
Arthur Erb – Bass
Michael Verni – Guitar
Matthew Ryan – Drums/Auxiliary Percussion
Izzy Guido – Synth/Saxophone/Vocals
The journey begins on suffering earth and quickly ascends into the cosmos with From Hell To Horizon. The pentatonic riffage on this track represents the optimism of setting out in search of a second home for humanity. As we arrive in space, the psychedelic, live, improvisational stylings of Arthur, Mike, and Matt, as well as our clear Kyuss influence, are put on full display.
Kepler-452b puts the sheer scope of our universe into perspective. Slow, low, droning lines, set against call-backs to the riffs of the previous track establish the almost homogenous beauty of the void. Following a brief homily delivered by William Shatner, the listener is treated to a double saxophone solo performed by Isabel Guido.
The harsh noise of Psychosis (In A Vacuum) tells one that disaster has befallen. The steering black metal-style screams of Guido refer to the experience of Vladimir Komarov, the first human to die in a spaceflight. Following this, an overwhelming onslaught of Cowell-esque violins and alternating minor second harmonies between the guitar and synth chords begin to induce anxiety in the listener. All of this takes place over a droning bass line through which the powerful, assaulting, drumming of Matt Ryan weaves in and out. The track comes to a climax as a radio transmission of cosmonaut Komarov’s last words can be heard just above all the chaos.
Bury the Survivors opens with the quintessential dominant seventh stoner riff. At a slow pace and with powerful harmonies, it serves as a mourning of the casualties of Psychosis. Following this is the album’s most psychedelic and danceable jam. Here the improvisational soundscaping of each member is put on display as the listener is nearly drowned by an ethereal whirlpool of phasers, reverb, and delay and then spit out into the first chords of ‘Ashes to Ashes’. Marked by it’s somber aesthetic, Ashes To Ashes features a sample from the movie ‘Aliens,’ which alludes to a covering up of the psychosis incident effectively burying those who may have survived it. This sample is joined by acoustic guitars and a pair of discordant guitars separated by a minor second.
The fuzzed-out bassline opening Blackhole Lifeforms steals from the very first riff of the album, but with a much more pessimistic twist. The ensuing tritone riffage displays the turn the soundscape has taken from the album’s optimistic start. After the initial onslaught dies down, another bassline joined by a quotation of H.P. Lovecraft thrust the listener into a true cacophony of sirens, chug riffs, bass drops, synth stabs, and squealing saxophone resulting in an almost truly violent musical assault.
Recovering from the chaos, the droning funereal waltz of ‘Succumb to the Void’ conveys the sheer the hopelessness of exploring the cosmos whilst man remains a greedy creature. Building into a black metal style guitar solo underpinned by synth and bass chords falling out of phase creating a minor 6th harmony all occurring over pounding double bass, this serves as the perfect conclusion to our sonic journey Mike’s uncle, Darren Verni of Unearthly Trance, informed us of engineer Collin Marston.
We soon realized we were familiar with and fans of much of Collin Marston’s work (Panopticon, Origin, Liturgy). In order to capture the live energy and allow for strong improvisational sections, we recorded drums, bass, and rhythm guitar live at Collins studio. We recorded all 6 songs in one weekend. Collin was amazing to work with as he offered feedback without imposing any limitations on our creative freedom. At first, he was unsure about having us play live in one room, but after our first soundcheck jam he said s«eems like you guys know what you’re doing.” We spent the next year or so tracking synth, guitar leads, extra percussion, and whatever else we wanted entirely DIY».
Without any shows to distract us, we were able to ensure that we got exactly what we wanted out of this album. Raw, but unearthly. We sent tracks to Collin to mix and master as we finished them and nearly every time he nailed the mix in the first